Victorian Opera enters a new dimension

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This was published 9 years ago

Victorian Opera enters a new dimension

By Reviewed by Michael Shmith

OPERA
Wagner: Der fliegende Hollander (The Flying Dutchman) four stars
Victorian Opera, Palais Theatre, St Kilda, until February 19

How fitting to present Wagner's The Flying Dutchman right by the sea. The Palais, that great barn of a theatre, has not, I think, staged an opera for many years: a Eugene Onegin from the late, lamented Victoria State Opera was the last one I saw there, back in 1983. Now its descendent, Victorian Opera, has returned to St Kilda with a superb production of the Dutchman that brings Wagner's early work to vivid and telling life.

Oskar Hillebrandt, Warwick Fyfe & Carlos E Baircenas in The Flying Dutchman.

Oskar Hillebrandt, Warwick Fyfe & Carlos E Baircenas in The Flying Dutchman.Credit: Jeff Busby

Somehow, the presence of Port Phillip Bay just behind the stage manifested itself inside: you could almost sense the salt in the air and the ceaseless susurration of the tides. Besides, the brooding spirit of the sea is embedded in every bar of Wagner's score, which, on Saturday night's opening, flowed with majestic strength and ebbed with lyricism. Crammed into the pit (sardines in a tin came to mind) was the Australian Youth Orchestra, which, let loose on full-length Wagner, played beautifully, with clarity and grace, but also with essential power and oomph.

Richard Mills, VO's artistic director, conducted a sturdy performance, without bombast and with utmost attention to orchestral and stage balance. The Flying Dutchman is, above all, a legend. Its voyaging hero must find redemption through faithful love or else suffer eternal damnation. The recounting of this legend can, in some productions, be obscured by directorial whim.

Not so here. Roger Hodgman's straightforward production, aided by Matt Scott and Christina Smith's sets and visual designs (good period costumes by Teresa Negroponte), made clear sense of the tale. What brought all this together were the extraordinary 3D moving images projected at the back and sides of the stage. This brought the Dutchman, shall we say, an extra dimension.

These images, devised by VO's performance partner, Deakin Motion.Lab, effectively and ingeniously take the audience deeper into the drama without confusing or cheapening it. There are authentic blood-red sails for the Dutchman's ship, scudding angry clouds for the storm, a sun-lit fiord, and, at the end, beautiful and redemptive Northern Lights.

The singers were, for the most part, fine. German bass-baritone Oskar Hillebrandt's Dutchman, despite being a shade too light for the role, was dramatically strong. American soprano Lori Phillips was a first-rate Senta, with a beauteous tone and clear diction. Warwick Fyfe's Daland, on occasion over-mannered of character, was sung well, as was Liane Keegan's Mary. Bradley Daley was a persuasive and clear Erik, and Carlos E. Barcenas was a good Steersman. The Victorian Opera Chorus, prepared by Phoebe Briggs, was lusty and heartfelt. After all, they have some of the best tunes.

In all, The Flying Dutchman is a watershed for the Victorian Opera. An ambitious undertaking, to be sure, but one which deserves admiration and praise. Set sail to St Kilda.

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